Jos Demol
Website
September 2002

"What we try to do is bring great, adventurous music to a larger public, whether it's European, Asian, African, or American - it doesn't matter. Don't forget that although the main roots of jazz emanated from African-American music there also were influences from European immigrants."

By Glenn Astarita

Belgium's Jos Demol is a modern jazz impresario, who also serves as co-editor of the classy, Jazz'Halo modern jazz magazine. In addition, Mr. Demol oversees operations for Jazz'halo's excellent modern/free jazz label while also looming as one of Europe's most visible concert promoters. (Excerpted from the Jazz'halo website: Jazz Halo) "We are a bunch of people who are mad about good music, modern jazz and improvised music in particular."

Jazz'halo is the project of ABX logistics, a successful company, and Tonesetters-vkh, a dynamic non-profit organization. We aim to promote modern jazz and improvised music by producing CD's, by publishing a magazine (4 issues a year), by organizing concerts and by distributing small independent labels (mostly run by musicians).

Working together with other organizations is the only way to succeed. De Werf Brugge, La Tentation Brussels and Soundstation LiÚge became valuable partners for the concert organization. J@zz@round, the magazine that is published in the French speaking part of Belgium also joined the Jazz' halo family." Jos Demol was kind enough to grant AllAboutJazz.com an interview, via email.

All About Jazz: Have you noticed any significant changes in the Belgium and perhaps European jazz scene over the last several years? For example, have you noticed an increased interest solely through the circulation of your magazine or record sales amid discussions with students and artists? What's the heartbeat like?

Jos Demol: There has been many interesting changes in the Belgian jazz scene the past ten years. Eight years ago there wasn't any Belgian jazz magazines. Now there are three: Jazz'halo, Jazzaround (French speaking part of the country and partner of Jazz'halo although they have a different approach and contents) and Jazzmozaïek (sponsored by the Flemish Government).

Most active is without a doubt De Werf Brugge with Rik Bevernage (manager) serving as the energetic force. De Werf is a subsidized centre that organises jazz concerts by international (mostly US) and Belgian musicians.

In 1992 they started the JazzLab Series to give a professional stage (good P.A., light, honest fees) to Flemish and Belgian groups. The first venues were De Werf Brugge, Gele Zaal Gent and De Spiegel Sint-Niklaas. In 2000, the JazzLab Series became independent. A year later, they already were organising 85 concerts at 10 different locations and the public is still increasing, among many youngsters. That in particular represents a good feeling because they represent the future. In 1993, De Werf started the W.E.R.F. label with mostly Belgian groups. To know more about their productions please visit their website: W.E.R.F

Another important exponent for the Belgian jazz scene is Tonesetters-vkh, a non-profit organisation that emerged in 1990. First, we organised a couple of concerts per year (mostly modern jazz and improvised music). Some of the highlights were the Fred van Hove/Ivo Vanderborght duo, Gerry Hemingway (solo), the Graewe/Reijseger/Hemingway trio, the Horace Tapscott Quartet, and the Joëlle Léandre/Giorgio Occhipinti duo. In 1991, we released our first CD (reissued 2002). And in 2002, we plan to release our 17th CD. Since 1997 we operate under the name Jazz'halo because since then, thanks to our partner Emile Clemens who could work out the sponsoring of Promedia, our activities became more extensive as we started a free jazz periodical (4 times per year), the Jazz'halo Music Days and of course we continued the CD productions. Promedia supported us for 5 years and in 2002, we welcomed a new sponsor: ABX LOGISTICS, once again thanks to Emile Clemens. The main goal of Jazz'halo is to promote modern jazz and improvised music. We don't work only with Belgian musicians but also with adventurous European and US artists. From July 2001 we are on the Internet Jazz Halo.

Anyway, the collaboration between De Werf and Jazz'halo/Tonesetters has always been optimal. We became brothers in arms due to the same spirit and goals. This year Brugge is the cultural capital of Europe and together with Rik Bevernage and Willy Schuyten from De Werf, I'm responsible for the programme of the 1st edition of the JazzBrugge2002 festival. We choose for European groups only (Brugge is cultural capital of Europe). We are proud with the 20 line-ups we can propose during 4 days (15-16-17-18 August). I think the bill shows a nice variety of European music. We chose for quality in the first place. We hope the public follows us. However, I think that through the years there has been a growing interest in the European scene. Some days ago, a journalist asked me: "Does European jazz exists?" And I have to admit that this certainly is the case. To name only a few: Duo Renaud Garcia-Fons/Jean-Louis Matinier, Giorgio Occhipinti Hereo Nonetto, Ramon Lopez, Gebhard Ullmann's Clarinet Trio, Pistri, December Thirty Jazz Trio, … They all bring music that has influences of US jazz but the main influences come from their own musical heritage (Italian opera, Sicilian folklore, flamenco, musette, fanfares,). So, yes there's something like European jazz although I never have been interested in putting labels on music. What we try to do is bring great, adventurous music to a larger public, whether it's European, Asian, African, or American - it doesn't matter. Don't forget that although the main roots of jazz emanated from African-American music there also were influences from European immigrants.

Of course there are a lot more initiatives in our country but this will lead us too far. We have several interesting festivals and venues. Many of them lean on the shoulders of idealists.

It would help a lot if national radio would spend some more time with jazz during their normal programmes. It's important for people who aren't familiar with jazz to have an opportunity to listen at it.

Last June Emile and I were invited to the Terni Jazz festival (in wonderful Umbria, Italy) to attend the first meeting of some European jazz magazines. The main objective was to collaborate/promote local musicians that need to be known abroad. The small group of participants besides us consisted of Cim Meyer (Jazz Special, DK), Michel Rolland (Spain), Philippe Schoonbrood (Jazzaround, B), the Vanni Brothers (Jazzit, IT), Marco Valente (Jazzos.com). We agreed on a name for the association: JAME. Each magazine will review the CD's the partners choose from their local musicians. We'll also try to organise tours with these musicians in each country. It's still in the making but I'm very confident that the idea has a lot of potential. The main proponent is Luciano Vanni from the Italian magazine Jazzit. We would also like to put a programme together for the European Community.

AAJ: Thanks to MP3's and CD burners, record sales (across the board) have slipped approx: 18% here in the States. Is Europe experiencing similar woes? In addition, do you see any stride with web developers teaming with the record industry to develop digital downloads of CDs minus the materials, and shipping costs? Do you feel that these are necessary steps to survive in the digital market?

JD: I don't have a clear sight on this side of the business. I can imagine that something has to be done to avoid massive free downloading because when it's eating the profit of record companies they won't continue (in case they already did) to support musicians that are more adventurous. But will the downloaders buy more records because they don't have the possibility of getting it from the net for free? I doubt it. Maybe the solution hinges on collaborations between record labels and Internet providers.

AAJ: Is Jazz Halo planning to release any new CDs this year? What's on the horizon?

JD: We just reissued our first CD Chris Joris's Songs For Mbizo with the late Johnny Dyani and Bob Stewart (tuba) in the line up. Also just out is Francesco Branciamore's Perfect Quartet, an adventurous Sicilian ensemble lead by drummer Francesco Branciamore who's also member of Giorgio Occhipinti Hereo Nonetto and the December Thirty Jazz Trio. Francesco worked with Lee Konitz, Evan Parker, Carlo Actis Dato, Pino Minafra, Paul Rutherford, and Michel Godard.

Next Fall we'll release a solo concert of the great American pianist Michael Jefry Stevens. We recorded his birthday concert at De Werf Brugge last November. We also plan "December Thirty Jazz Trio ­ Free for Three" (a selection from the three 2001 Jazz'halo Music Days concerts) and "Joe Fonda / Gilbert Isbin - Duets" later this year. For 2003, we prepare our first double album that was recorded during the Jazz'halo Music Days 2001: "Vinny Golia Quintet" and we plan a project around a text that Emile Clemens is working on about "Snakes." Musicians involved are Vinny Golia, Joëlle Léandre, and Francesco Branciamore. The three musicians will work solo, in duo and as a trio.

As you can see we're never short of plans. It's always a struggle to find enough of a budget to continue but we stay optimistic.

AAJ: Broadly speaking, what do you think differentiates the jazz scene in Belgium, from let's say, France or Germany? Alternatively, does Europe in general share similar "artistic" and economic roadblocks?

JD: The Belgian jazz scene is very much focused on the US. Only a few musicians do their own thing and found their proper way: Fred van Hove, Kris Defoort, Gilbert Isbin, … Although we are joined in the European Community, there's not much interaction between clubs from several countries. I don't know why but I guess there's such a difference in mentality that it is rather difficult to collaborate. In general, some countries get a label e.g. the ironic Dutch, the clownesque Italians, the romantic French and the straight Germans. But to me this should be a good reason to get together because out of this melting pot of different styles and roots can come something amazingly good. We call it jazz. As I told you earlier that's how it worked in the States (blues, polka, and waltzes).

Visit the JazzHalo website at www.jazzhalo.com.